Fuji icon, Alhaji Ayinla Kollington, clocked 68 on the 20th of the month that just ended. That August was a comparatively tough one for a musician of his calibre to have had his birthday. The reason is that it was one during which Nigeria lost some six entertainers – including highife legend, Victor Uwaifo; and screen stars Rachel Oniga and Victor Olaotan. Kollington’s birthday was thus like a tale of life in a forest of passage.
The birthday, although was not elaborately celebrated because it was not a milestone, in some circles relived the intriguing story of fuji. This is understandable because the Ilota, Kwara State-born artiste is about the oldest surviving fuji musician in the country. Fuji exponent and Ayinla’s contemporary as well as friend (and sometimes competitor), Sikiru Ayinde Barrister, died over 10 years ago – at the age of 62. Were he alive, he would have been 73 now.
The age difference has, as a matter of fact ,been a source of surprise to some lovers of the music and followers of the duo. Such are pleasantly surprised that, after what looks like an eternity of stardom, Kollington has yet to hit 70.
This may, however, just be part of the grace the musician with a chain of aliases – Baba Alatika, Kebe n Kwara, Professor Master, General etc. – enjoys. It has truly been a long time he landed on the limelight while his has been a very eventful life both on stage and at home. Apart from having churned out many albums, including top ones like ‘Ijo Yoyo’ and ‘Fuji Ropopo’, the Kollington who has just clocked 68 is the same person around whom ageless death rumours were woven in the past. He is the same person who survived a mad fire incident in his Alagbado, Lagos home. He is the one whom sicknesses has dealt with at one time or the other – to the extent that he has been a guest to an Indian hospital. Yes, he is the one who has moved from one woman to the other – Ondo-born sweet-sixteen Tayelolu, Salawa Abeni, astute dancer Iyabode etc.
He is the same fuji singer who introduced bata drum and, as he would always profess in his songs, jazz and piano, into fuji. He is the same person who musically fought with his friend Barrister for what looks like many decades. Yet, Ayinla still has two seasons before hitting 70.
No wonder, although Kollington is of the old generation, his birthday generously echoed on social media, especially with members of his fans club saluting him, extolling his artistic essence while wishing him a longer life. Ayinde Barrister’s brother, Chief Gani Kayode-Balogun, also celebrated the birthday in a Facebook post.
Beyond the introduction of the musical instruments Kollignton always wants to name, he indeed has some other major contributions to the development of fuji. For instance, he has always made it relevant to society and people’s aspiration. He reflects political, economic, social and international issues in his songs. During the military era, he joined other freedom fighters to root for democracy. He was, indeed, a stern voice in the June 12 battle. He deployed his songs to promoting economic policies and programmes – such as Second Tier, Census, MAMSER and more.
Also, Kollington sold fuji to many who would otherwise have seen it to be too traditional or conservative. This he did by deploying fast-tempo beats and light songs that sometimes dovetail into saje, the kind of slang tales that Abas Obesere later turned into an industry. Of course, the rivalry between him and Barrister was at some points bitter. Yet, some critics believe that the competition helped the development of both artistes and, consequently, the genre. When many thus continue to celebrate Kolligton, despite the fact that he is no more as active as younger folks like Wasiu Ayinde, Saheed Osupa, Alabi Pasum and Taye Currency, it is based on the inspiring musical legacy he has built.
Considered in line with Barrister’s evergreen ingenuity, sages will also always remember Kollington’s limitation as an artiste. The thematic depth, philosophical sophistication and metaphoric dexterity that define Barrister’s music are, for instance, absent in many of Kollington’s songs. Yet, at 68, Kebe n Kwara is still kicking and singing on his own lane, with his voice still very fluid and sweet.
‘Baba Be’, an album he released not too long ago proves this. His dedication to functional music is preserved, as he in the album navigates various popular issues, including coming hard on Xenophobic South Africans. In terms of beat and occasional racy-beat tungba jabs, Kollington also proves in the work that once an Alatika, always an Alatika. One thus hopes that he will continue to produce songs – and videos – as he marches towards his three scores and 10 on earth.
Happy birthday, Baba Alatika.
